King James Version
Song of Solomon 1
17 verses with commentary
The Bride's Longing for Her Beloved
The song of songs, which is Solomon's.
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KJV Study Commentary
The book opens with its title and attribution: 'The song of songs, which is Solomon's.' The Hebrew construction 'shir hashirim' (שִׁיר הַשִּׁירִים, song of songs) employs a superlative—'the greatest song' or 'the most excellent of all songs.' This literary device parallels 'holy of holies' (most holy place) and 'king of kings' (supreme king). The attribution to Solomon, who composed 1,005 songs (1...
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Song of Solomon 1:1 contains the title of the book: literally, *A song of the songs *(Heb., *Shîr hashîrîm*)*, which to Solomon, i.e., of which Solomon is author. *This has been understood as meaning “one of Solomon’s songs,” with allusion to the 1,005 songs (1Kings 4:32) which that monarch composed. But when in Hebrew a compound idea is to be expressed definitely, the article is prefixed to the w...
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32. (Compare Pr 14:29).
**taketh a city--**that is, by fighting.
Let him kiss me with the kisses of his mouth: for thy love is better than wine. thy: Heb. thy loves
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The bride speaks: 'Let him kiss me with the kisses of his mouth: for thy love is better than wine.' This opening verse establishes the Song's unabashed celebration of physical intimacy and passionate desire within covenant relationship. The Hebrew 'yishaqeni' (יִשָּׁקֵנִי, let him kiss me) uses an intensive form expressing urgent longing. The shift from third person ('him') to second person ('thy'...
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(2) **Love.**—Marg., *loves, i.e., *caresses or kisses, as the parallelism shows. The LXX., followed by the Vulg., read *breasts *(probably *dadaï *instead of *dôdaï*)*, *the origin of many fanciful interpretations: *e.g., *the two breasts = the two Testaments which breathe love, the first promising, the second revealing Christ. The reading is condemned by the obvious fact that the words are not s...
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33. Seemingly the most fortuitous events are ordered by God.
Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.
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The bride continues praising her beloved: 'Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.' The 'good ointments' (shemanim tovim, שְׁמָנִים טוֹבִים) refer to fragrant oils and perfumes highly valued in ancient Israel. Ointments represented luxury, celebration, and attractiveness. The beloved's 'name' (shem, שֵׁם) signifies his c...
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(3) **Because of the savour.**—The general sense of this verse is plain, though grammatical difficulties render the literal translation doubtful. It should be divided into three clauses, not into two only, as in the Authorised Version: “Because of their odour (or, with regard to their fragrance) thy ointments (are) sweet.” There is no authority for taking *riach = *sense of smell, or we should nat...
Read full commentary →Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee. the upright: or, they love thee uprightly
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The bride declares, 'Draw me, we will run after thee: the king hath brought me into his chambers.' The imperative 'draw me' (Hebrew 'moshkeni,' מָשְׁכֵנִי) suggests active pursuit by the beloved, while 'we will run after thee' indicates eager, voluntary response. The sudden shift from singular ('me') to plural ('we') may include the bride's companions (daughters of Jerusalem, verse 5) in celebrati...
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(4) **The king hath brought me.**—The dramatic theory of the poem (see *Excursus *II.) has been in a great measure built up on interpretations given to this verse. We understand it as a repetition, in another form, of the protestation of love made in Song of Solomon 1:1-3. Like them, it forms a stanza of five lines. The clause, “the king hath brought,” &c, is—in accordance with a common Hebrew idi...
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CHAPTER 17
Pr 17:1-28.
**1. sacrifices--**or, "feasts" made with part of them (compare Pr 7:14; Le 2:3; 7:31).
**with--**literally, "of."
**strife--**its product, or attendant.
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
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The bride addresses potential criticism: 'I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.' The phrase 'I am black, but comely' (shechorah ani ve-navah, שְׁחוֹרָה אֲנִי וְנָאוָה) acknowledges sun-darkened skin while affirming beauty. The 'daughters of Jerusalem' represent city-dwelling women with lighter skin (less sun exposure). The bride com...
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(5) **As the tents of Kedar**—*i.e., Dark as the Kedareen tents of black goats’ hair, beautiful as the royal pavilions with their rich hangings. *For a similar style of parallelism, comp. Isaiah 15:3 : “On her housetops, and to her open streets, every one howleth, descendeth with weeping.” For *Kedar, *see Genesis 25:13.
As the poet puts this description of the lady’s complexion into her own mouth...
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2. (Compare Pr 14:35).
**causeth shame--**(Pr 10:5).
**shall ... inheritance--**that is, share a brother's part (compare Nu 27:4, 7).
Look not upon me, because I am black, because the sun hath looked upon me: my mother's children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.
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The bride explains her sun-darkened skin: 'Look not upon me, because I am black, because the sun hath looked upon me: my mother's children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.' The phrase 'sun hath looked upon me' (sheshezapatni hashamesh, שֶׁשְּׁזָפַתְנִי הַשָּׁמֶשׁ) indicates sun exposure from outdoor labor. The bride's brothers ('m...
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(6) **Look not **. . .*—i.e., with disdain, *as in Job 41:34 (Heb. 26).
**Black.**—Literally, *blackish.*
**The sun **. . .—The word translated *looked upon *occurs only twice besides (Job 20:9; Job 28:7). The “all-seeing sun” is a commonplace of poetry; but here with sense of scorching. The heroine goes on to explain the cause of her exposure to the sun. Her dark complexion is accidental, and can...
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3. God only knows, as He tries (Psa 12:6; 66:10) the heart.
Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions? as one: or, as one that is veiled
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KJV Study Commentary
The bride asks, 'Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?' The phrase 'thou whom my soul loveth' (she'ahavah naphshi, שֶׁאָהֲבָה נַפְשִׁי) expresses deep soul-love. The bride seeks the shepherd-beloved's location—'where thou feedest' (eyphoh tir'eh, אֵיפֹה תִר...
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(7) **Where thou feedest . . . thy flock . . . For why should I be . . .**?—The marginal reading, *that is veiled, *follows the LXX. in rendering the Hebrew literally. But it has been found somewhat difficult to assign a meaning to a literal translation. The su*ggestions=unknown *(Ewald), *veiled as a harlot *(Delitzsch, comp. Genesis 38:15), *fainting *(Gesenius), seem all wide of the mark, since...
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4. Wicked doers and speakers alike delight in calumny.
If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents.
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KJV Study Commentary
The bridegroom responds to the bride's question: <strong>If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents.</strong> The address 'fairest among women' (yaphah banashim, יָפָה בַּנָּשִׁים) affirms the bride's beauty and value even while gently redirecting her. The beloved doesn't rebuke her seeking but provide...
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(8) **If thou know not.**—With this verse one subsection of the poem plainly ends. Most of the supporters of the dramatic theory make Song of Solomon 1:9 begin the second scene of Act I.; and many of them understand this reply to the heroine’s question as an ironical allusion on the part of the court ladies to her low birth. We take it rather as one of the many playful ways in which the poet eithe...
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5. (Compare Pr 14:31).
**glad at calamities--**rejoicing in others' evil. Such are rightly punished by God, who knows their hearts.
Solomon Praises His Beloved
I have compared thee, O my love, to a company of horses in Pharaoh's chariots.
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KJV Study Commentary
The bridegroom declares, <strong>I have compared thee, O my love, to a company of horses in Pharaoh's chariots.</strong> The Hebrew 'lesusati berichvey par'oh' (לְסֻסָתִי בְּרִכְבֵי פַרְעֹה) literally means 'to my mare among Pharaoh's chariots.' This unusual comparison requires cultural context: Egyptian pharaohs used stallions for their war chariots. A mare released among stallion-drawn chariots ...
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(9) **Company of horses.**—So Vulg., *equitatus, *but Heb. *susah *more properly = *mare, *as in LXX., Τῇ ἵππῳ μου*.* The ground of the comparison is variously understood. Some, offended at the comparison of female beauty to that of a horse, think the rich trappings of a royal equipage suggested it, while on the other hand, the mention of the caparisoned steed may have suggested the reference to t...
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6. Prolonged posterity is a blessing, its cutting off a curse (Pr 13:22; Psa 109:13-15), hence children may glory in virtuous ancestry.
Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
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KJV Study Commentary
The bridegroom continues praising the bride: <strong>Thy cheeks are comely with rows of jewels, thy neck with chains of gold.</strong> The Hebrew 'lechayayikh batorim' (לְחָיַיִךְ בַּתֹּרִים, your cheeks with ornaments) and 'tsavareyikh bacharuzim' (צַוָּארֵיךְ בַּחֲרוּזִים, your neck with strings of beads) describe adorned beauty. The 'rows of jewels' (torim, תֹּרִים) likely refers to beaded orna...
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(10) **Rows.**—Heb., *tôrim, *from *tûr *= went round; hence = either circlets or strings of jewels, or the round beads themselves of which necklaces, &c, were made.
**Chains.**—Literally, *perforated, i.e.*, beads, or possibly coins strung together. “Arab ladies, particularly the married, are extravagantly fond of silver and gold ornaments, and they have an endless variety of chains, bracelets, a...
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**7. Excellent speech--**(Compare Margin). Such language as ill suits a fool, as lying (ought to suit) a prince (Pr 16:12, 13).
We will make thee borders of gold with studs of silver.
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KJV Study Commentary
The bridegroom (and perhaps companions) declares, <strong>We will make thee borders of gold with studs of silver.</strong> The Hebrew 'na'aseh-lakh torey zahav im neqquddot hakeseph' (נַעֲשֶׂה־לָּךְ תּוֹרֵי זָהָב עִם נְקֻדּוֹת הַכָּסֶף) promises to create ornaments of gold studded with silver. The plural 'we' may indicate the bridegroom speaking with royal plural or including companions who will a...
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(11) **Borders.**—The same word translated *rows *in preceding verse. In the dramatic theory, this verse put into Solomon’s mouth takes the form of a seductive offer of richer and more splendid ornaments to dazzle the rustic maiden; but no theory is necessary to explain a fond lover’s wish to adorn the person of his beloved.
Jamieson-Fausset-Brown Bible Commentary
8. One so corrupt as to take a bribe evinces his high estimate of it by subjection to its influence (Pr 18:16; 19:6).
While the king sitteth at his table, my spikenard sendeth forth the smell thereof.
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KJV Study Commentary
The bride speaks: 'While the king sitteth at his table, my spikenard sendeth forth the smell thereof.' The 'king' refers to the bridegroom (Solomon). The Hebrew 'mesibbo' (מְסִבּוֹ, his table/couch) suggests intimate dining or reclining setting. The 'spikenard' (nerd, נֵרְד) was costly aromatic ointment imported from India—the same perfume Mary used to anoint Jesus (John 12:3). The phrase 'sendeth...
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(12) **While the king sitteth.**—There is no need to imagine a scene where the monarch, having failed in his attempt to allure the shepherdess by fine offers, retires to his banquet, leaving her to console herself with the thoughts of her absent shepherd love. As in Song of Solomon 1:2 the poet makes his mistress prefer his love to wine, so here she prefers the thought of union with him to all the...
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**9. seeketh love--**(Compare Margin). The contrast is between the peace-maker and tale-bearer.
A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.
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The bride continues: <strong>A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.</strong> The Hebrew 'tseror hamor' (צְרוֹר הַמֹּר, bundle of myrrh) refers to a small sachet of aromatic myrrh resin worn around the neck, resting against the chest. Women would wear such fragrant bundles for personal enjoyment and to perfume their clothing. The beloved is like this...
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(13) **A bundle of myrrh.**—The mention of perfumes leads the poet to a new adaptation of the language of flowers. For myrrh (Heb., *môr*)*, *see Genesis 37:25. For various personal and domestic uses, see Psalm 45:8; Proverbs 7:17; Proverbs 5:13. Ginsburg quotes from the Mischna to prove the custom, alluded to in the text, of wearing sachets, or bottles of myrrh, suspended from the neck. Tennyson’...
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10. Reproof more affects the wise than severe scourging, fools.
My beloved is unto me as a cluster of camphire in the vineyards of Engedi. camphire: or, cypress
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The bride adds another metaphor: <strong>My beloved is unto me as a cluster of camphire in the vineyards of En-gedi.</strong> The Hebrew 'eshkol hakofer' (אֶשְׁכּוֹל הַכֹּפֶר, cluster of henna blossoms) refers to fragrant white flowers of the henna plant (Lawsonia inermis), used for perfume and dye. The 'vineyards of En-gedi' (karmey eyn gedi, כַּרְמֵי עֵין גֶּדִי) locates this imagery in a specif...
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(14) **Camphire.**—Marg*., cypress: Heb., côpher. *There is no doubt of the identity of this plant with the *Henna *of the Arabs, the *Lawsonia aïba *or *inermis *of botanists. Robinson found it growing in abundance at En-gedi (where *alone *it is found), and suggested the identification (see his Note, *Researches, ii.* 211). Tristram describes it thus: “It is a small shrub, eight or ten feet high...
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11. Such meet just retribution (1Ki 2:25).
**a cruel messenger--**one to inflict it.
Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes. my love: or, my companion
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The bridegroom speaks to the bride: 'Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes.' The doubled declaration 'thou art fair... thou art fair' (Hebrew 'yaphah,' יָפָה) emphasizes emphatic affirmation and delight. The word 'behold' (hinnakh, הִנָּךְ) is an exclamation drawing attention to beauty that captures the speaker's complete focus. The comparison 'thou hast dove...
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(15) **Behold, thou art fair.**—The song is now transferred to a male speaker—the advocates for the dramatic theory cannot agree whether Solomon or the shepherd; and no wonder, since the poem gives no indication.
**My love.**—Marg., *companion, *LXX. πλησίον*, *in Heb. *rayati, *is used for the female, *dôdi *being her usual term for her lover. Beyond this the terms of endearment used cannot safel...
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12. They are less rational in anger than wild beasts.
Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.
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The bride responds to the bridegroom: 'Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.' The bride mirrors the bridegroom's affirmation (verse 15), declaring him 'fair' (yapheh, יָפֶה) and 'pleasant' (na'im, נָעִים)—delightful, lovely, agreeable. This reciprocal delight models mutual appreciation in covenant relationship, not one-sided admiration. The phrase 'our bed is gre...
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(16) **Our bed is green.**—The heroine replies in similar terms of admiration, and recalls “the happy woodland places” in which they were wont to meet.
Jamieson-Fausset-Brown Bible Commentary
13. (Compare Psa 7:4; 35:12).
**evil--**injury to another (Pr 13:21).
The beams of our house are cedar, and our rafters of fir. rafters: or, galleries
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KJV Study Commentary
<strong>The beams of our house are cedar, and our rafters of fir.</strong> This concluding verse of chapter 1 describes the royal bedchamber using architectural imagery. The Hebrew <em>qorot batenu arazim rachitenu berotim</em> (קֹרוֹת בָּתֵּינוּ אֲרָזִים רָחִיטֵנוּ בְּרוֹתִים) employs Lebanon's most prized building materials—cedar and fir. <em>Qorot</em> (קֹרוֹת) refers to supporting beams or raf...
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(17) **Rafters.**—Marg., *galleries *(comp. Song of Solomon 7:5); LXX., φατνώματα;* *Vulg., *laquearia*; Heb., *rahît, *from *rahat = *run, flow: hence (1) *a gutter, *from the water running down (Gen. 3:38); (2) *a curl, *from its flowing down the neck (Song of Solomon 7:5—Hebrews 6); (3) here *rafters, *or roof beams, from their spreading overhead. “Our couch was the green grass, the arches of o...
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**14. letteth ... water--**as a breach in a dam.
**before ... meddled with--**before strife has become sharp, or, by an explanation better suiting the figure, before it rolls on, or increases.